Cilogy wrote:or the fact that this is the closest we've gotten to realistic space flight in a fictional film
While INTERSTELLAR's depiction of spaceflight is thoroughly grounded in realism, several films easily surpass it in that regard:
Voyage to the Planets and Beyond - Thorough design studies exist for every piece of technology in the film. Proper silence in space. Accurate Hohmann and brachistochrone transfer orbits, with aerobrakes when necessary. Realistically lengthy transit times with proper lightspeed communication delay. Zero-G scenes were filmed in actual zero-G on the Vomit Comet, and Mission Control scenes were filmed in the real-life ESA Mission Control. Accurate portrayal of psychological effects of prolonged space travel and health concerns. In short, an obscure jewel of space travel films.
2001 - The spacecraft Discovery was designed so well that NASA did a complete design study to envision a ship with the same mission parameters, and ended up with a result very similar to Clarke's original vision.
Avatar - Regardless of whether you love it or hate it, the worldbuilding behind space travel in this movie is entirely based on existing engineering plans and does not require any breakthroughs in physics to construct. It remains the only realistic portrayal (that I know of) of interstellar travel in fiction without the use of warped space.
It's interesting cuz half of the realism is achieved simply by sticking to a documentary style of cinematography in limiting the type of shots in space to three kinds
-big scale shots over the endurance
-'pov' shots through the cabin windows
-external 'camera' attached to the vehicles' armor type of shot
They're also all static
(There's only exceptions when in a planet's atmosphere)
Nomis1700 wrote:I don't get why people think Nolan doesn't have enough emotion in his films and that this is his first emotional film. The fuck? Pretty much all his films were emotional. This one might be the heaviest because there's more emphasis on the relationship between the characters given the impact of what happens in the story. His other films have plenty of emotional pieces as well.
Same
ChristNolan wrote:I could kiss that bearded squishy beautiful bastard.
That's one way of putting it.
CoRohr wrote:
I don't watch Doctor Who. My point was, that's not a paradox.
Wrong word to describe it I guess.
Cooper sends messages to his past self so that his past self can become his own future self.
Nomis1700 wrote:I don't get why people think Nolan doesn't have enough emotion in his films and that this is his first emotional film. The fuck? Pretty much all his films were emotional. This one might be the heaviest because there's more emphasis on the relationship between the characters given the impact of what happens in the story. His other films have plenty of emotional pieces as well.
Same
ChristNolan wrote:I could kiss that bearded squishy beautiful bastard.
That's one way of putting it.
CoRohr wrote:
I don't watch Doctor Who. My point was, that's not a paradox.
Wrong word to describe it I guess.
Cooper sends messages to his past self so that his past self can become his own future self.
I'm sure this has been discussed already, but did anyone else notice how the water planet aftermath scene between Cooper and Brand is exactly like the 1st level dream sabotage aftermath with Dom and Arthur? Both main characters are yelling at the secondary character for screwing up the mission and both Cooper and Dom even share a line. "We are not prepared for this!". This should come as no surprise considering Nolan likes to throw the audience into the maze with the characters, so to speak. He likes for them to screw up along the way, and having one of the characters botch a mission is one of the better ways to show that.
Again, I'm sure this has already been brought up. I'm just spitballing out of boredom...
